texts: ocultos and El viajero de Agartha.Los demonios ocultos was a literary project started by <mask> in 1971 after meeting several Nazis during his university days. The main character of the novels is a young Argentine who is looking for his father, a German scientist who was sent by the Third Reich on a mission to Central Asia. There are two temporal spaces, the Second World War and the Argentina of the last military dictatorship. A true adventure espionage novel is called El viajero de Agartha. Walter Werner narrates the story in a diary recovered by his son, which recounts his mission in Tibet in his search for the mythical city of Agartha. The title of the third novel, La reina del Plata (1988), indicates that it is a homage to the Argentine capital. The novel takes place in a futuristic Buenos Aires, where the society is divided betweenInsiders and Outsiders, with the Outsider being the one who ruminates on his own identity.The plot is narrated in fragments and the action is MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE MzE Posse was promoted to Ambassador in 1990 by President Carlos S. Menem. His stay in the Czech capital is productive. In 1991, he publishes his literary essay Biblioteca essential, where he proposes the most important 101 works of universal literature and his own cannon of the literature of the River Plate. The novel El largo atardecer del caminante, which closes the "Trilogy of the Discovery of America", was written by <mask> in the Czech capital. The baroque style of Daimon and The dogs of paradise give way to a more reflective style in this work. The main character in this work is the conqueror Alvar Nuez Cabeza de Vaca, who lives the last years of his life in a humble abode in Seville, reminiscing about his true American adventure through an autobiographical and sincere retelling of his exploits.The maxim "only faith can cure, only kindness heals" was announced by Posse's Cabeza de Vaca as a way the conquest should have taken place. His next work is called La pasin segn Eva. Eva Pern is living her last nine months of life while looking back at her life in a biographical novel. The testimony of people who knew her was collected and recovered by <mask>. The novel's stated aim is to provide a deeper understanding of this powerful woman than has been given by previous biographies, taking her life out of the ideological straitjacket and transforming it into a destined life. The biographical novel, Los Cuadernos de Praga, was written by <mask> while he was ambassador to Lima. As with several of his earlier novels, the author was inspired by personal experience, and <mask> was told during his stay in Prague that Che Guevara lived undercover in the city for almost a year after his defeat in the Congo.Like in La pasin segn Eva, the motive of the personal diary is the catalyst for the autobiographical account, an account which converses with the research the author has carried out. The objective of the author is not to simply recount the life of the historical person, but based on solid foundations, rescue his destiny in order to give account of his life beyond the ideological. After returning to Latin America after his European postings, the Posse increased their journalistic opinion pieces in El Excelsior (Mexico), El Nacional (Caracas), ABC and El Mundo (Madrid), Linea and La Nacin. In the aftermath of the kidnapping of hostages at the Japanese embassy by the MRTA, <mask> arrived in the country. At the same time he spoke of his opposition to the trials by Garzn against Pinochet and the International Human Rights Court, he also spoke of his support for Fujimori's war against the MRTA. His opinion pieces underscored the role Argentina could play in the consolidation of MERCOSUR and highlighted the natural resources of the country for the benefit of the next millennium, by appealing to the patriotism of its citizens and calling on them to imitate the example of Hiplito. In the first collection of political essays he published in Argentina, many of these articles were brought together.The national hero, Jose de San Martin, inspired a short story in 2000. The literary prize of the Argentine Academy of Letters was received by <mask> in 2001. Felipe Segundo <mask> is based on a real life ancestor of his who was heir to a vast estate of sugar mills in Tucuman province in the late 19th century. The story begins when he is diagnosed with Tuberculosis and decides to abandon his family and go to Argentina and Egypt to look for Rimbaud. The novel celebrates Argentina's development at the end of the 19th and beginning of the 20th centuries and fictionalizes historical characters like Domingo F. Sarmiento. President Duhalde Argentine ambassador to Spain appointed <mask> after a brief posting at UNESCO in Paris. After the 2001 Argentine financial collapse, this country was the main destination for Argentine migrants of Spanish descent.The terrorist attacks in the Spanish capital of Madrid were witnessed by <mask>. In response to the crisis facing Argentina, <mask> increased his opinion pieces in La Nacin, defending regional integration, national sovereignty, and appealing to national reconstruction. In 2003 he published a collection of political articles. There is a work called De la enfermedad colectiva al renacimiento. According to several media outlets, <mask> was the preferred candidate for foreign affairs minister because of his diplomatic experience, his age and his key posting in Spain. The journalist and former Montonero militant published an opinion piece and participated in a TV program where he appealed to the president to put aside <mask>'s candidature, whom he accused of having a benevolent attitude toward the previous military dictatorship for not having abandoned his diplomatic duties. While <mask> was at the embassy in Madrid, he was appointed as foreign affairs minister by the president.After his retirement, <mask>'s commitment to the anti-Kirchner opposition increased. He opposed the restart of trials against the military and 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 He supported the presidential candidacy of Eduardo Duhalde in 2007, when he was also senate candidate for the City of Buenos Aires in Roberto Lavagna's ticket. A collection of literary essays and reflections on intellectuals close to him was published in 2005. In 2006 he published a series of political essays under the title La santa locura de los argentinos, which was a best-seller, where he attempts to map the Argentine question by focusing his analysis from colonial times to the last century in order to make a call for a citizen. In October 2009, he published Cuando muere el hijo, a novel where the narrators A and S experience the suicide of Ivan, and they try to come to terms with their son's decision. When they travel from Paris to Tel-Aviv, they stop in Miletus, the city of the pre-Socratic philosopher Anaximander.Mauricio Macri was appointed the Minister of Education of the City of Buenos Aires at the end of 2009. <mask> took office a day after publishing a controversial article in the daily La Nacin, titled "Criminality and cowardice", where he declared that rock music dumbed down the young, and he demanded stronger measures against criminals. He rejected the reopening of trials against members of the military regime and 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 His appointment and this opinion piece triggered a wave of protests by unions and students, from the rock-music scene and web based social networks, to sections of the media, such as Pgina 12 who accused Posse of having had close ties with previous dictatorship. The media took up a few sentences from Posse's article which was taken up by the media, tarnishing Posse's image even further. 11 days into his new posting, Posse resigned. Noche de lobos was written by a Montonero female leader who had been held captive and tortured at the ESMA and who had fallen in love with her torturer.The urban guerrillas and the military are portrayed as the protagonists of savagery in this work. The acts of torture suffered by this woman in this secret detention centre are recounted in this piece. The novel shows how the female guerrilla fighter who was a captive at the hands of the military gave her account to <mask> in the early 1980s while he was in the Argentine embassy in Paris. Since his resignation as Minister of Education of Buenos Aires, he continues to live in this city, where he gives conferences and publishes frequently in Perfil and La Nacin. He is concerned about the future of the country. The late Rafael Obligado's name was removed from the Argentine Academy of Letters as of November 2012. He became a numbered member of the National Academy of Education in May of last year.The works are translated from the Spanish by Sarah Arvio. The dogs of Paradise was translated from the Spanish by Margaret Sayers Peden. La reina del Plata (1988), El viajero de Agartha (1989), and La pasin segn Eva (1994) are examples of Los demonios ocultos. De la enfermedad colectiva al renacimiento. O renacimiento? The poem "Invocacin al fantasma de Mi infancia muerta" was published in 2015. The Eco, Revista de la cultura de Occidente, Bogot, was published in 1962.La Gaceta is located in San Miguel de Tucumn. Celebracin del desamparo was published in 1970. The short stories "Cuando el guila desaparece" were written in 1989. Amsterdam: Radio Nacional Holanda, 2000, p. 67-75, translated by Martn Heidegger. The Abel Posse. The author is Semana de author. There is a website for the Audiovdeoteca de Buenos Aires.The Cuadernos de América sin nombre was written by Aracil Varn and Beatriz. Esposto, Roberto, Peregrinaje a los Orgenes. "Civilizacin y barbarie" was published in New México in 2005. Roberto Esposto is a member of the Posse. Un caminante solitario. Buenos Aires: Biblos. Malva, La visin de América en la Obra de Abel Posse, en Spiller, was written by Filer.Argentina de los aos 80 is a novel. 29, 1991. Lojo, Mara Rosa, Poeticas del viaje en la Argentina actual, was written by Karl. There are literaturas del Ro de la Plata. The 1996 edition of De las Utopas al desencanto was published by Iberoamericana-Vervuert. Magras, Romain, L'intellectuel face,  la célébration du (bi)centenaire de la Nation argentine. Cahiers alHIM, n.o 19, Université, est croisés sur the figures of Leopoldo Lugones and <mask>.The lectura auroral de la Historia en la novela hispanoamericana was published in 2010. Menton, Seymour. Los perros del paraso are in La nueva novela histrica. Mara Cristina, Pons, and Historia crtica de la literatura Argentina all have secret 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 The narracin gana la partida was published in 2000. Pulgarn Cuadrado, Amalia, historiogrfica en la narrativa hispnica. Anales de literatura hispanoamericana, written by Luis Sinz de Medrano, was published in 1992.Snchez Zamorano is the author of la clera de la historia. Aproximacin a la nueva novela latinoamericana. The person is Ana Mara, Daimn, and the person is the person is the person is the person is the person is the person is the person is the person is the person is the person is the person is the person is the person is the person is Un hacia la identidad latinoamericana was published in 1990. Waldegaray is the author of "La experiencia de la escritura en la novelstica de <mask>sse". In 1997 the Cincinnati Romance Review published Tyranny, writing and memory in <mask>'s Daimn. There are references to births of Argentine male

masks:
Posse
Posse
Posse
Posse
Posse
Posse
Posse
Posse
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Posse
Posse
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Abel Posse
Abel Po
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type: paraphrased

texts: <mask> was a member of the Generation of '27. During the Spanish Civil War, in early 1938, he went to the UK to deliver some lectures and this became the start of an exile that lasted until the end of his life. He taught at the universities of Glasgow and Cambridge before moving to the US. He moved to Mexico in the 1950s. He published many books of critical essays, covering French, English, and German as well as Spanish literature. At a time when homosexuality was problematic in Spain, he was a role model for this. His poems were published under the title La realidad y el deseo.The son of a colonel in the Regiment of Engineers, <mask> was born in the Barrio Santa Cruz, Calle Conde de Tjar 6. He had two older sisters. The recollections and impressions of childhood contained in his poems, and the prose poems collected in Ocnos, suggest that he was always a solitary, introverted, and timid child whose unhappiness in the family led to his living vicariously through books and through his strong visual impressions of his native city. When he was 9 years old, he looked through a copy of Rimas that had been lent to his sisters by their cousins. During his studies at the Escolapios School in Seville, he began to write poetry at the age of 14. The family moved into the Engineers' Barracks on the outskirts of Seville in 1914. They moved to Calle del Aire in 1918.During his first year at the University of Seville, he attended classes in Spanish Language and Literature given by Pedro Salinas. His shyness prevented him from mentioning his literary activities until Salinas noticed a prose poem published in a student magazine. He encouraged <mask> to read Spanish and French literature. It was at Salinas' suggestion that the first collection of poetry, Perfil del aire, was sent to Altolaguirre and Prados. Magazines used to publish collections of poetry as supplements. He lived at home with his mother and sisters after his father's death. He did military service in 1923.In 1924, as he was nearing the end of his undergraduate course, he participated in a series of meetings with a small group of fellow students in Salinas's house. These helped to guide his reading of French literature. He was undecided about what to do after becoming a Bachelor of Law in 1925. He thought about joining the diplomatic service but decided against it because of the move to Madrid. Salinas arranged for him to meet Juan Ramn Jiménez in the Alczar of Seville. He made his first trip to Madrid in January of 1926, where he met Juan Chabs, Melchor Fernndez, and others. He was already known to a number of the influential Spanish literati of the time, even though he later described himself as inexperto, aislado en Sevilla.Through 1927-28, his indecision about a career choice continued. In December 1927, the Gngora tercentenary celebrations reached a climax with a series of poetry readings and lectures at the Arts Club of Seville. Although he was not involved in the proceedings, he was able to read some of his poems and make a connection with Lorca. His mother died in July of 1928 and at the beginning of September, he left Seville. He moved to Madrid after spending a few days in Mlaga. He didn't want to use his law degree for practical purposes. He realized that poetry was the most important thing to him.He met Vicente Aleixandre after renewing acquaintances with Salinas. He became the Spanish lector at the University of Toulouse. He stayed there for an academic year after taking up the post. The experience of living on his own in a foreign city led him to a crucial realization about himself: his shyness, his unhappiness in a family setting, his sense of isolation from the rest of humanity had all been symptoms of a gay lifestyle. This changed the type of poetry he wrote. He discovered a love of jazz and films, which seems to have activated an interest in the USA. After returning from Toulouse in June 1929, <mask> lived in Madrid and was involved in the literary and cultural scene of the Spanish capital.He found a job in the bookshop owned by Len Snchez Cuesta. He worked with many groups to create a more tolerant Spain. He was involved in the Misiones Pedaggicas between 1932 and 1935. He contributed articles to Octubre, edited by Alberti and his wife Mara Teresa Len, which demonstrates his political commitment at that time, although there is no evidence that he formally joined the Communist Party. In June 1935, he stayed above the flat of Altolaguirre and his wife. In February 1936, he participated with Lorca and Alberti in an homage to the writer Valle-Incln. He only published one collection, Donde habite el olvido, in 1934.The chance to revise and reflect on his work was given by the difficulty in getting published. He realized that he could combine his poetry under the title La realidad y el deseo. The book was published in the journal Cruz y Raya. New poems were added as separate books in subsequent editions. On April 21, there was a dinner attended by many people, including Bergamn. When the Spanish Civil War broke out, a friend of his, Concha de Albornoz, arranged for him to join her in Paris as a secretary to her father. He stayed there from July to September 1936, but then returned to Madrid with the ambassador and his family.A founding figure of the Spanish Second Republic and his daughter were prominent figures in the artistic world of Madrid. He tried to serve on the Republican side in order to be useful to society. He thought there was a chance of righting some of the social injustices he saw in Spanish society. He was involved in radio broadcasts with A. Serrano Plaja from October 1936 to April 1937. He moved to Valencia in 1937 and began to write poems. He began to work with Juan Gil-Albert and the other members of the editorial team behind the periodical. In June, the representative of the Ministry of Education objected to a poem that was to be published in that journal on the subject of Lorca's murder and he had to remove a line that made explicit mention of the subject's homosexuality."A un poeta muerto (F.G.L.)" is a poem. The poem was restored after it was published in Las Nubes. The attempt to be socially committed had been futile, as the flow of events made me see, little by little, how instead of that chance of life for a young Spain, there was only the criminal game being played by a party that many people joined for. He was motivated by his innate rebellion and disgust at Spanish society. During the Second Congress of Anti-Fascist Intellectuals in Valencia in 1937, he played the role of Don Pedro. He met Octavio Paz. He stayed in Madrid until February 1938, working on the periodical El Mono Azul, edited by Alberti and Mara Teresa Len.In 1935 at a salon hosted by Carlos Morla Lynch, a diplomat, diarist, amateur musician and closet homosexual working in the Chilean Embassy in Madrid, <mask> met an English poet named Stanley Richardson who was nine years younger than him. He met Altolaguirre and Concha Méndez in London. They had an intense but short-lived relationship that was commemorated in a poem dated 20–22 March 1935 and included in Invocaciones. Richardson arranged for him to give a series of lectures in Oxford and Cambridge. This was to be the start of an exile that would last for the rest of <mask>'s life, and he thought that he would be away from Spain for one or two months. The lectures never happened. Richardson arranged a party for him, attended by celebrities such as the Duke of Atholl, 2nd Baron Faringdon, the Chinese ambassador, Rebecca West and Rose Macaulay.The situation in Spain meant that it was not advisable for <mask> to return and so Richardson suggested that he join a colony of evacuated Basque children at Faringdon's estate. After a few months in England, penniless and barely able to speak English, he went to Paris with the intention of returning to Spain. He stayed in Paris to hear about what was happening in his native land. Richardson and <mask> met again in Paris in August of 1938, but the intensity of their relationship had weakened due to various of <mask>'s letters of the time. Richardson hired him as a Spanish assistant in Cranleigh School. He became the lector at the University of Glasgow in January 1939. Richardson was killed in an air raid while dancing at the Ritz.In 1942, <mask> wrote an elegy for him. There is a postlude. In August 1944, while walking around Cambridge, <mask> noticed a framed photograph of Richardson hanging in the window of a Red Cross shop. His godmother's name was on the back. It was bought by <mask>. Glasgow and Scotland were not appealing to him, which is noticeable in the downbeat tone of the poems he wrote there. Despite the ravages of the war, he spent his summer vacations in Oxford, where there were plenty of well-stocked bookshops.He moved to Cambridge in the summer of 1943. Music has always been important to him and he used to attend concerts in Seville. He was able to develop his musical knowledge because of the artistic life of Cambridge and London. Mozart's music meant the most to him and he devoted a poem to him in his last collection. The second edition of La realidad y el deseo was brought out in Mexico by Bergamn in 1940. There was a separate edition of this collection in Argentina in 1943. He was worried that the situation in Spain after the Civil War would make it difficult for writers who had gone into exile to get their work out to the public.The appearance of these books gave him hope. He moved to the Spanish Institute in London in July 1945. He regretted leaving Cambridge because of the variety of things to do in the capital. He decided to take his holidays in Cornwall because he was tired of living in a big city. In March 1947, when his old friend Concha de Albornoz wrote to offer him a post there, he accepted with alacrity. He arrived in New York on September 10 after securing a passage on a French liner. The shops of New York made it seem as if he were arriving in an earthly paradise because he was coming from a country that was impoverished but still showing signs of war damage."For the first time in my life, I was going to be paid at a decent and fitting level", he said. At the end of the 1947-48 year, a student advised him not to stay in Mount Holyoke and he began to wonder if it was a beneficial force on his poetry. During his first visit to Mexico in 1949, he was so impressed that he decided to return. He wrote in the winter of 1949-50 in the collection of Variaciones prose. During a 6-month sabbatical in 1951, he met X, the inspiration for "Poemas para un Cuerpo", which he started to write at that time. This was the best time of his life. He returned to the US via Cuba after he met X.The long winter months, lack of sun, and snow made it impossible for him to live in Mount Holyoke. On his return from vacation in 1952, he resigned from his post and moved to a friendly and welcoming country that offered him a comfortable and convenient lifestyle. He always wanted to travel to new places. Only love could make him feel at home in a place and overcome his sense of isolation. The belief in the power of love is one of the reasons that he was attracted to the surrealists. He had a strong attraction to young men. He had an urge to go against the grain of any society he found himself in.He didn't fall into provincial ways during his youth in Seville, because the inhabitants thought they were living at the centre of the world rather than in a provincial capital. He was immunised against the airs and graces of Madrid, as well as any other place in which he lived. In November 1952, he moved to Mexico with his friends Concha Méndez and Altolaguire, although they had separated in 1944 and later divorced. He was a lecturer at the National University of Mexico. The third edition of La realidad y el deseo was published in Mexico. In order to see not so much how I made my poems but how they made me, <mask> wrote an essay Historial de un libro. Altolaguirre died and <mask> took on the job of editing his poetry.His sisters died in 1960. In 1960, he lectured at UCLA and became friendly with Carlos Otero, who was presenting a thesis on <mask>'s poetry. On his return to Mexico, he began to write poetry again after his stay. He finished his final collection, Desolacin de la Quimera, in San Francisco a few months after he wrote his last poems. He taught courses at San Francisco State College. After a brief return to Mexico, he made his third and final visit to California in 1962, where he was a visiting professor at UCLA. He was invited to give a lecture at the University of Southern California in the summer of 1963, but he had to get a medical in order to keep his visa.He died of a heart attack in Concha Mndez's house. He was buried in Mexico City. He had no children. <mask> was a member of the Generation of 1927. Salinas, Guillén, Diego and Dmaso Alonso were well known for their teaching activities and critical writings. Both Altolaguirre and Prados are known for their printing work. Alberti and Lorca were both well-known for their political activism.As a way of earning a living, <mask> went into university teaching and never held a prestigious post. His work as a poet was the most important thing in his life. He tends to discuss the authors and works that had the most influence on his poetry and thinking in his published criticism. His personal crisis, depicted in Un ro, un amor, does coincide with the personal crises experienced by Alberti, Lorca and Aleixandre, but the development of his poetry from first to last is dictated by his character and not by literary fashion. The title of his poetry, La realidad y el deseo, refers to the conflict that is its primary theme. The reality that offered itself to my eyes as if only through possession of it might I be able to achieve certainty about my own life was what led him towards it. Since I have only ever achieved a precarious grip on it, there is a tendency to be hostile to reality.When he was in the military, he had a significant stage of his development. He and the other recruits had to ride around the outskirts of Seville every afternoon. He had a feeling that he was seeing things for the first time. He felt a need to describe the experience. The writing of a whole series of poems did not survive. His residence in Great Britain between 1938 and 1947 was a crucial part of his development. He read a lot of English literature.He seems to have had a sense that he was destined to read English poetry and that it corrected and completed something that was lacking in his poetry and himself. The poet should not simply try to communicate the effect of an experience but to direct the reader to retrace the process by which the poet had come to experience what he is writing about, as he began to see his work in the classroom as analogous to the writing of poetry. His attitude to Britain was ambiguous. He learned a lot from the literature, but it wasn't easy to show affection for the country and its people. He thought that he failed to do justice to the theme by summing up his feelings in the poem. The title La realidad y el deseo was given to the revised version of the first published work by <mask>. <mask> sent a copy of the collection to Salinas in Madrid, where he was on vacation.The book was greeted by a stream of hostile reviews that focused on a perceived lack of novelty and its indebtedness to Guillén. Salinas merely sent back a brief acknowledgement of receipt of the book, which really stung him. He dealt with the debt in an open letter published in nsula in 1948, in which he pointed out that Guillén had yet to publish a collection. During the 1920s, Guillén had published individual poems in various magazines - including 12 in two separate editions of the Revista de Occidente in 1924 and 1925 - but, he argues, this is hardly sufficient evidence to demonstrate significant influence, given that in December 1925 he himself had His conclusion is that both of them shared an interest in pure poetry and were influenced by the works of Mallarmé. The spread in the 1920s of the ideal of "pure poetry" is what Villena sees as the reason for these poems. The young poets of the era, including Guillén, were all influenced by this blend of classical purity and refined playfulness.It wasn't a case of influence as a common aesthetic. The reviews were positive. Guillén urged José Bergamn to ignore the reviews after he published a positive review. The secretary of Juan Ramn Jiménez sent him a letter full of praise. He was never able to forget the criticism of this work. He wasn't thin-skinned for that. The poets are very different in tone, even though the revision process removed ten poems and some of the stylistic elements that might have triggered comparisons to Guillén.Guillén reaches out joyfully and confidently to reality while <mask> is more hesitant - the world might be an exciting

masks:
Luis Cernuda Bidn
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Cernuda
Luis Cernuda
Cernuda
Cernuda
Cernuda
Cernuda


texts: place but something holds him back. There is an intellectual quality far removed from the folkloric elements that were being used by poets such as Alberti and Lorca, but the emotional restraint is far removed. The title change is thought to be related to the reference in the title to the Calle del Aire which baffled one of the negative reviewers. There are poems that reject the real world in favor of a love that will lead to oblivion. The poet knows that hiding from reality can only be a short term solution. One of the moods is melancholy. Juan Ramn Jiménez has a strong debt.Egloga, Elega, Oda was written after the critical reception of Perfil del aire. He was influenced by his favourite Spanish poet. This was published in the first issue of a magazine called Carmen and was very well received by Salvador de Madariaga. This was followed by an elegy. He realized that the formal exercises did not allow him to express his feelings, even though writing these poems helped his technical skills. It was an important discovery for him that it was possible to write poems that were much longer than usual. He states in Historial de un libro that at this time he was trying to find an objective correlation for what he was experiencing, which is a rationalisation since he had yet to read Eliot.This small group of poems can be read as <mask>'s participation in the Gngora tercentenary celebrations, except that he chose to evoke the memories of Garcilaso's eclogues and <mask> Len's odes. The subject-matter is influenced by Mallarmé, but only on the form of these poems. "L'aprs-midi d'un Faune" is what the mood recalls. There are hints of the poet's admiration for Greek mythology and also of his interest in male physical beauty which would be developed in later collections. There was an interest in <mask> Len. His essay shows that <mask> considered him to be a spirit of poetry that was a refuge from the trials and difficulties of everyday life. Someone was always trying to find a way to gain access to a realm of harmony.During his time in Toulouse, <mask> began work on this collection. He visited Paris in the Easter vacation of 1929 and was enamored with the museums and book-stalls. He spent a lot of time looking at the sights. One day, back in Toulouse, he wrote "Remordimiento en traje de noche" and discovered a style that enabled him to express poetic needs that he had not been able to communicate up until then. He hadn't written a single poem since he arrived in Toulouse in 1928, but he produced the first 3 poems of the new collection in quick succession. His unhappiness with poetry's conventions had been freed by contact with surrealism. surrealism was more than a literary phenomenon, it was an expression of an attitude against conformity.Pure poetry is broken by the poems in this collection. He uses his language with more passion and intensity than before. After returning to Madrid, he continued to work on this collection. The influence of the Surrealists is shown by the complexity of the free-flowing imagery, some of it inspired by random discoveries such as the title of a jazz record. The first two collections did not include metrical schemes or rhyme patterns. This was the first collection in which he used free verse. From this point on, <mask> rarely uses full rhyme or even assonance, even though he often felt a need to write in a lyrical style.Most of the poems in this book have some kind of metrical pattern, which is unusual in the context of the surrealist movement. There is a poem called "Son todos felices? <mask> makes it clear what attracted him to the surrealists, their protest against society and the pressure to conform. In this poem, honor, patriotism and duty are seen as worthless compared to the suffering they cause the rebel or non-conformist. Being alive and living according to the rules is the same as being dead. The first expression of Homoerotic attraction in his poetry is contained in this poem. The collection was gathered into the first edition of La realidad y el deseo, which was published in 1936.Los placeres prohibidos were gathered in this and the previous collection. His first two collections were very different from the poems that eventually got published. It's a book of love, rebellion and beauty. This collection shows the homosexuality of the poet. There were other "forbidden pleasures" in the title of the work. Between April and June 1931, when Alfonso XIII abdicated, there was an intensive period of literary production. In "Diré cmo nacisteis", the war cry against a society in decay is launched.The next poem in the collection is called "Telaraas cuelgan de la razn". There is a difference between the poet's freedom of imagination and the accepted rules of life. The main tone is desolation, recalling the fleeting nature of love and the emptiness it leaves in its wake. The betrayal of a newborn child's sense of wonder and innocence is depicted in "De qué pas". It is a theme that has been explored many times. Donde habite el olvido was written from a love affair that ended badly. Nobody noticed the significance of a large "S" in the form of a snake on the inside back cover when the collection was first published.The other man was a young man from a poor family in La Corua who led a picaresque life and hid himself into the artistic circles of Madrid at the age of 16. There is a lot of data for him. He died in Mexico after appearing in Malraux's film Espoir: Sierra de Teruel. In April 1931, <mask> fell in love with him. The majority of Los placeres prohibidos were written between April 13 and 30. The relationship deteriorated quickly. He used to ask his lover for money and was promiscuous, which led to jealousy on the part of <mask>.There were some violent rows between them. The atmosphere of their relationship is described in a prose poem. Their relationship ended in June of 1932. <mask> was embarrassed by the candour with which he wrote about it in Donde habite and admitted that it was one of the least-satisfying parts of his work. <mask> feels that what was hidden in the depths of his mind had been dredged sufficiently in this collection. He looked at the example of the 19thc and saw that hermetic images were derived from the flow of thoughts through the poet's mind. The subject of lost love was the subject of tightly controlled poetry by the poet.Like Bécquer's Rimas, the poems are short and self-contained and their language is restrained. The poems come back to the world of the poesas. The archangel who is named explicitly in a later poem is referred to obliquely in the first poem. In "II" and "XII", the leit-motiv of the angel recurs. The theme of "III" is the emptiness left by the passing of love, just as in "Telaraas cuelgan de la razn" from Los placeres prohibidos. "IV" shows how dreams and ambitions of youth are destroyed when they soar too high. The poem "VII" suggests that despite all his experiences, the poet is still unfulfilled.It is suggested that love alone makes life real. Even though it might have died in a particular person, it persists as a universal force. Although the presentation of the ideas is different, they are still present. The love affair had an effect on <mask>. He alludes to it in the short story "Sombras en el saln" written in 1937 in the midst of the Civil War. The collection was originally called Invocaciones a las gracias del mundo but was shortened to make it seem less pretentious. He starts to write longer poems because he is tired of the short poems in the tradition of Antonio Machado or Jiménez.He realized that the subject-matter of the poems needed to be longer for him to express everything he needed to say about them. The last traces of pure poetry were cast off by him. There is a tendency to start certain poems with a lot of bombast, as well as a tendency to ramble at the beginning. The poetry is more analytical and he starts to view things in a more objective way. In "Soliloquio del farero", the poet finds an escape from desperation in an enclosed and solitary world very similar to his earliest poems. He develops the idea that he has been chosen to serve mankind by being separated from them, just like a lighthouse-keeper, when he reads the poem to his friend. A golden age of innocence has been lost in some of the poems in the collection.In 1935, <mask> had a relationship with Stanley Richardson and dedicated "Por unos tulipanes amarillos" to him. The Las nubes collection was written during the Spanish Civil War and amidst all the disruption and uncertainty in <mask>'s life as he went into exile, drifting from Madrid to London, to Paris, to Cranleigh and finally to Glasgow. The book is about war and exile and how they connect with Spain. The most important collection in his output is this one. His growing feeling that Spain was not going to change for the better, as well as his isolation in foreign countries, are some of the major themes. He views Spain in two different ways. The stepmother depicted in "Elega espaola I" is stuck in the past, jealous, violent and now wrecked by war, and he is ashamed of her.On the other hand is an idealised version of Spain that has been destroyed. It is a mix of a lostEDEN of the south, a tolerant, creative, great and respected nation, and of the most positive and creative aspects of Golden Age Spain. "Elega espaola II" and other poems depict Spain. <mask> will continue to develop the theme of exile for the rest of his career. The poet is cursed because he is a spiritual exile in the world and every poet is a purer realm of experience. There is an increased concentration on clarity and simplicity of diction and his control over his means of expression is growing. The silva, the basic form of the 7 and 11 syllable lines, is an important form for poets of both the Spanish Golden Age and the Generation of 1898.The collections prior to Las Nubes were abstract. In Invocaciones he adds symbolic elements but now his poetry takes on greater amplitude with the addition of reflections on culture, mythology, history and his biography. Under the influence of Wordsworth and Browning, he starts to write dramatic monologues. He took eight new poems with him when he left Madrid. He wrote six more in London. He wrote "Lzaro" while Hitler and Chamberlain were negotiating over Czechoslovakia, and the poem is written in a calm mood, trying to express the surprise that a dead man might feel on being brought back to life. One of the first examples of the Doppelgnger being used to express <mask>'s sense of lifelessness is this one.During his stay with the colony of evacuated Basque children at Eaton Hastings, he befriended a boy called Iaki who had quickly mastered English and showed such promise that Lord Faringdon was prepared to finance his education at a private school - an offer refused by the boy on political grounds. The boy fell ill and was taken to the hospital. He was close to death on March 27. He turned away from the crucifix held out by the priest. He wanted to see <mask>, so he asked him to read a poem. He died after turning to the wall. The inspiration for the poem "Nio muerto" was this.A key poem in the collection is "A Larra, con unas violetas", in which he identifies himself with the brilliant, satirical journalist of 19thc. There is a city called Madrid. Larra was a fierce critic of the governments of his day but he was also very patriotic. Larra has a spirit that is embittered, misunderstood, isolated and unsuccessful in love. The work began during his vacation in Oxford in 1941 and continued in Glasgow and Cambridge until 1944. The autumn, winter and spring of 1941-2 was one of the most fertile periods of his life and it seems that this collection was one of his favorites. He read a lot of English poetry and criticism and was familiar with many of the authors.He began to read the works of Goethe. His handling of longer poems is more assured as a result of this extensive reading. A longing for bright sunshine and warmth is easily explicable in the circumstances, which is why there are poems that suggest a nostalgia for the Seville of his youth. A reader can only sense what is happening around him in indirect ways. It would be hard to find out how Glasgow was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 "Por otros tulipanes amarillos" is an elegy to his former lover Stanley Richardson, who was killed in an air raid on London. In an extended poem, "Noche del hombre y su demonio", he reflects on the course of his life and the possibility of being remembered after his death.The demonio suggests that the poet may have tried to live a normal life in the past. The poet says that his poetic vocation is what makes his life worth living. Even though he might be wrong, his poetry is necessary to him and he must commit to it completely. The poem "Gngora" takes a historical figure and projects the poet's own psychological state onto him. He collected a set of notes in 1937 called Gngora y el gongorismo. He sees Gngora as a victim of society and surveys the humiliation and incomprehension from which he suffered when alive, the lack of respect accorded to him by critics and his eventual rehabilitation from neglect in 1927. In these notes, he briefly discusses a recently published work on Gngora by Dmaso Alonso, which discusses the two types of poetry that Gngora wrote - complex and elaborate works such as "Polifemo" or the "Soledades" as against artThere is only one poet and the critic who should try to resolve these two opposing tendencies and show them as part of a single truth. The way society tries to appropriate and sanitise the poet, while showing disdain to him, is characteristic of <mask>. He expresses this resistance with great power and bitter irony in the poem. The descendants of those who insulted him may bow to his name and give a prize to the scholar who took his place. This is very similar to the previous collection in that it contains a mix of introspective and self-analytical works and shorter impressionist poems. After reading Hlderlin, <mask> began to use enjambement. The rhythm of the individual line and the rhythm of the phrase were both affected by his increasing use of this device.The effect that is often close to prose is due to the fact that he tended not to use rhyme or assonance and was not very interested in writing poetry with a marked metrical pattern. It is not a metrical rhythm. The influence of Hlderlin goes back to the mid-1930s when he was writing Invocaciones. The German poet gave him an example of a poetic language using long sense periods in extensive poems that develop a theme in depth and over time the reader can see <mask> absorbing and building on this example. The first eight poems were written in Cambridge, followed by 13 in Cornwall. The title refers to the state of mind in which he was when he was living in foreign countries. The place of living was being taken over by his reading.He could not see what was ahead of him. "El César" is a typical poem from this collection. Tiberius ponders his solitude and voluntary separation from the world and people while he is in retirement. His feelings of misanthropy are almost idealised. He reflects on his power, his age, the blood he has shed, the rumors that circulate about him, his regrets and guilty feelings, what it is like to be an old man. Caesar is a projection of <mask>'s thoughts and yet he is also a figure in his own right, reflecting on his own life story. During the winter of 1950, the collection was started in Mount Holyoke and finished in Mexico.The book contains 16 poems about an intensely physical affair he had with a man in Mexico. The title of the collection suggests <mask>'s obsession with the passing of time but also his sense of strangeness as he describes himself. This was one of the best periods in his life. The majority of the poems are reflections after the affair ended, attempts to explain and fix the intense love he felt during the affair. There are similarities between Donde habite el olvido and these poems. The relationship between himself and the experience of love is the focus of <mask>'s work. He is present in the poems rather than a shadow or absence.The poems don't have sensuality. The poem "IV Sombra de m" is a meditation on the relationship between the lover and the beloved. The visible image of

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texts: the lover's desire but still necessary for without him love could not have been exteriorised. The poet's gratitude for being given the chance to experience love is what we get. One of the most serious objections that can be made to his work is that he was not always able to maintain the distance between the man who suffers and the poet who creates. The majority of the poems in the collection are shorter than in previous books and start to incorporate assonance more frequently in an attempt to concentrate the material rather than explore it at length and also to seem more purely lyrical, even though these urges were not the result of a conscious decision. "Aguila y rosa" is a very sober, restrained account of the unfortunate marriage of Philip II and Mary Tudor, and Philip's stay in Britain.It is1-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-65561-6556 Mary's unhappy life was compensated for by the love she received from her husband. The trilogy of works about Philip II was completed by Cernuda. The first was in Las nubes, followed by "Silla del rey". The building of the monastery-Palace at El Escorial is evoked by both of these poems. The monastery becomes a symbol of Spain in the first poem. It is an image of beauty, the creation of a sensibility that despises the practical and is opposed to the environment of Glasgow, the place where he lives in exile.The nightingale singing its song just to please itself is a symbol for <mask> the poet and it becomes fused with his conception of El Escorial. Philip was watching the construction of his palace from his seat in the hills above. The king's thoughts of the building as an expression of his faith and centralising political ideas is what <mask> takes as a starting point. A reflection on his work, time and society leads to a declaration that he is creating a haven from the world, protected by spiritual power from temporal change. Reality and desire are one and the same. The king gives Cernuda an outlet. The account of the choosing, preparation and killing of an Aztec victim is called "El elegido".It picks up on the thoughts behind the soliloquy in Invocaciones. The poem shows an allegory of the choosing, beguilement and final destruction of the poet by life or the "daimonic" power. <mask>'s last book of poems is a summing up of his career. It was published in Mexico in 1962. In his mature style, it mingles poems in the style of his first book with epigrammatic works and extended reveries. In "Nio tras un cristal", he completes a cycle of poems about the unawareness and hope of a child before it is corrupted by the world. There are poems that are derived from song-titles or catch-phrases such as "Otra vez, con sentimiento" and historical poems about figures such as Mozart, Verlaine and Rimbaud.There is a poem about a painting by Titian. It seems that <mask> needs to base his experiences of life on cultural references. This is an extreme collection. There were no expansive metaphors. <mask> de Villena believes that this dry language is perfect for these ironic, cutting but perfectly chiselled poems. He wanted to settle his accounts because he knew his life was coming to a close. "Antes de irse", "Dos de noviembre", "Del otro lado", and "Eplogo" are some of the poems that show this.Links to previous collections can be found here. Donde habite el olvido is related to the "Poemas para un Cuerpo". He returned to the theme of Spain, which had first appeared in Las nubes, analyzing what he likes and dislikes. He shows his contempt for the Spanish society in "Dptico espaol". He has no choice but to be a Spaniard despite himself. He is proud of Spanish culture, but not so much for the reality of Spain as for the idealised world created by Spanish literature. There are poems about other poets."Hablando a Manona", "Luna llena en Semana Santa", or "Msica cautiva" are examples of the impossibility of finding happiness in a world where desire and reality differ. He likes to listen to Mozart's music or consider the world of Goethe compared to that of Napoleon's drunken soldiers. He had a degree of fame in Spain and there were signs that people were responding to his writings. He explains in "Peregrino" that he is driven to keep moving forward and can never return to the past because he is so focused on moving forward. Pedro Salinas encouraged <mask> to read classical Spanish poets such as <mask> Len. He told him to learn French and read modern French literature, in particular the poetry of Baudelaire, Mallarmé and Rimbaud. Pierre Reverdy was a major influence over the poems in his first collection, Perfil del aire, for his qualities of spareness, purity and reticence.This influence was not recognised by a contemporary critic. "Destierro" echoes Reverdy's poetry in its depiction of a solitary existence in a hostile urban world. The influence of Lautréamont's Les Chants de Maldoror and Préface a un livre futur emerged at a later time when <mask> began to explore the French surrealist movement. Len Snchez Cuesta, a book seller in Madrid, delivered a copy of Le Libertinage to him before he finished Perfil del aire. He began to read other books by the leaders of the Surrealist movement after the publication of Perfil del aire. In his third and fourth collections, he identified with their boldness and their sense of being outsiders. He began to read Hlderlin while he was halfway through the poems of Invocaciones.He had grown tired of the limited range of literature championed by the French surrealists and was starting to interest himself in English and German poetry. He began to learn the languages in order to read them. He discovered a new vision of the world and a new means of poetic expression when he traveled to Hlderlin. In a note that he wrote to accompany some translations of Hlderlin, <mask> describes himself as a living echo of pagan myths. He thinks that Hlderlin's poetry is similar to that of Keats, but he is not so far away from the prophetic songs of the latter. <mask> identifies himself with Hlderlin as he describes his feelings about the world he lived in. The secret forces of earth are the only realities that are different from society.One day, the poet was discovered at the feet of some Classical statues in a Paris park. There are two poems in Invocaciones that invoke ancient Greek gods. In Hlderlin's "Die Heimat", sadness is seen as a gift from the gods to mankind. Hlderlin is an influence on <mask> because they share a pantheistic vision of Nature, a sense of tragic destiny, and the same conviction that society was hostile. The "Egloga", "Oda", and "De qué pas" are themes from Los placeres prohibidos. He bought a copy of the Greek anthology in Paris in 1936. The style of these poems and epigrams stimulated him.After moving to Great Britain in September of 1938, <mask> continued his exploration of English literature. He was struck by their lack of ornamentation compared to Spanish and French poetry. He found that a poet could achieve a deeper poetic effect by avoiding bombast and grandiloquence. He liked the way that concision could give a precise shape to a poem. He learned to avoid two literary vices, the pathetic fallacy and "purple patches", avoiding undue subjectivity or features that did not fit in with the overall conception of the poem. His reading confirmed the tendencies that had been there for a long time in his poetry. In order to achieve greater objectivity, he learned how to take a dramatic, historic or legendary situation and to project his own emotional state onto it, as in poems such as "Lzaro", "Quetzalcatl" and "Silla del".E.M. Wilson suggests that after arriving in England, he began to follow in the footsteps of T.S. The works of other writers are alludes to by Eliot. He gives examples of possible borrowings from other people. "La poesa" and "Divertimento" were both written by George Herbert, according to him. The influence of Eliot is suggested in an essay by Octavio Paz. The title of his last collection of poetry, Desolacin de la Quimera, alludes to a line from a sermon by John Donne. He began to read Die Fragmente der Vorsokratiker (The Fragments of the Presocratics) with the help of an English translation.John Burnet's Early Greek philosophy was read by him in Mexico. The most profound and poetic works he had ever read were the fragments of pre-Socratic thought. He writes about the world of ancient Greece in his poetry. His childhood reading of a book of Greek mythology made his religious beliefs seem sad and depressing. He tried to convey that experience in a song. The role of the poet and poetry shows a continual process of stripping away style and mannerisms. The style and tone of various collections were sudden.If a poet doesn't gain as much variety of experience and knowledge, his work will be pallid and restricted. The growth, intellectual and emotional development of a poet should be reflected in his work. When he describes things, it is his individual perception of them that he is trying to convey, rather than their objective existence. He rarely uses the first person. He tries to distance himself from his poetry by using the "t" form, but the person he is addressing is usually himself. He seems to have a self-conscious interior monologue in his poetry. He was aware of the difference between the Cernuda who lived and suffered and the Cernuda who wrote poetry.It is probably a result of his natural reticence and caution against revealing too much of himself, despite the fact that personal history is behind much of his output. Browning might use a figure such as Fra Lippo Lippi to live imaginatively what he would not present as his own experience, but <mask>'s characters have versions or aspects of his own thoughts and feelings. He was convinced that he was driven by an inner daimon to write poetry and that the poet is in touch with a spiritual aspect of life that normal people are either blind or shut off from. He alludes to it frequently in his writings. His desire to write poetry was not under his control. It was important to try to express the real, deep-lying poetic impulse which was sometimes powerful enough to make him shiver or burst into tears. He was vulnerable enough to know that he had an audience, even though he was self-absorbed and dedicated to the art of writing poetry.There were rumors of a good reception for the edition of Como quien espera el alba that was published in Buenos Aires in 1947. He was happy to learn that he was starting to find an audience and that his name was being mentioned when Spanish poetry was discussed. He met the German philosopher and linguist Hans Gebser while writing Invocaciones. This was at a time when <mask> began to appreciate the poetry of Hlderlin and he began to translate selected poems. In 1936, these appeared in Cruz y Raya. He made an error when he translated the final line of a poem. Since Bergamn did not advise him of this and <mask> was living in Scotland at the time, he was unable to correct this and other infelicities.<mask> tried to get him to exclude any poems by Guillén, Salinas or Dmaso Alonso from the anthology because they were teachers rather than poets. The anthology was published in Berlin in 1936 after Alonso was excluded. He translated a set of 6 poems by Eluard. He collaborated with Stanley Richardson to translate 2 sonnets by Wordsworth. Romance was published in 1940 and contained poems by Yeats,Blake, and Keats. The first volume of Poesa y literatura contained three poems by Yeats, Browning and Marvell. He did not like his life in Glasgow.He began to feel a longing for his childhood days when he felt exiled from happiness and love. He thought of the South as a lost paradise. When he was living in Glasgow in the 1940's, he was inspired to start writing prose poems because of the contrast between the city and his hometown of Seville. He finally found a title that pleased him in a work by Goethe. Ocnos was a mythical Roman figure who twisted reeds into ropes and found that his donkey ate them. He continued to work in order to give himself something to do. The creator continually trying to create and the donkey symbolising time the destroyer, standing in the place of the reading public, was a fitting irony.The first edition was published in London in 1942. A second edition of prose poetry was published in Madrid in 1949, with 48 pieces. <mask>'s childhood and adolescence were the focus of the first edition. He gave a biographical sequence to the pieces in the second edition. The final edition was published in Mexico in 1963. One of the periods of inspired creativity was when he was writing "Un ro, un amor" and "Los placeres prohibidos". There are overlaps between his poems and prose poems."Jardn antiguo" is a prose poem and a poem in Las nubes. The gardens of the Alczar of Seville inspired both of them. An old man dreams of coming back to the walled garden with its fountain, lemon trees, magnolias and birds. He knows that youth won't come back and that's why he dreams of their return. A deeper reflection on his connection to that place can be found in the description of the garden in Ocnos. It concludes with a statement of the gap between reality and desire. Aquel jardn y sentarte de nuevo al borde de la fuente, comprendiste el da.You had to understand that neither action nor enjoyment could be lived with the level of detail that they had in their dreams at the edge of the fountain. Even though you were far away and in a strange land, you wanted to return to that garden and sit on the edge of the fountain to dream again of your youth. "<mask> hints that these introspective and poetic labours are all in vain, as he recalls the loci of ephemeral harmony, increases his knowledge and self-knowledge, and crafts his ruminations," wrote John Taylor. The donkey is chewing the rope. In "El esto" and "El amante", he recalls the pleasures of a holiday in Mlaga in 1933, and there is room for the occasional celebration. Carmona is the only other person we know of who had an affair with <mask>. The prose poems share an affinity of mood and subject-matter with a poem written around the same time, "Elega anticipada", in which he declares that their love has broken out of the prisons of time.In "Ciudad caledonia", he describes his dislike of Glasgow, as well as his dislike of the people. It was useless in his life apart from work and he was consuming what youthfulness he had left. One prose poem, "Escrito en el agua" (Written in the water), was excluded from the second edition of Ocnos by the censors in Franco's Spain. He had a reputation of being anti-Franco and a homosexual who was anti-religion and anti- family values, so his writings were likely to come under close scrutiny from the censors. It was not included in the third edition. Taylor points out that the title is a translation of "Here lies One Whose Name was Writ in Water". It was too rhetorical in tone.It is an account of how reality destroys all hopes and dreams. In "El acorde" there is an extended meditation on his conception of Cosmic harmony, a unity of feeling and consciousness that comes fleetingly, a moment of ecstasy. He writes that the closest thing to it is entering another body in the act of love and obtaining oneness with life by way of the lover's body. "La lengua" is the first piece in this book. Although he had been in contact with many Hispanic people, he missed the feeling of being in his native language. His visit to Mexico in the summer of 1949 seems to have started his inspiration. His next collection of poetry is called Con las horas contadas.The collection was published in 1952 after he returned to Mount Holyoke. The introduction talks about the lack of interest in Mexico shown by writers from Spain. He had no interest in the country as a child. After arriving in America, his curiosity was sparked by chance. The love is explored in these pieces as curiosity turned into interest. One of the sunniest collections of <mask>'s is this one. The sad reflection of Ocnos is gone.He is enchanted by the viceroy's palace. He can't imagine that he would want to leave if he were allowed to stay. The sight of native children begging reminds him of his homeland. His initial impulse was to return to the USA but he came to realize that the country is still alive despite its poverty. He thinks that poverty is the price you pay for being alive. The USA is vacuous and trivial. He describes how the landscape of Spain is taking control of him, like it must have done over the conquistadors.There is a scene of indolent sensuality. "Ocio" is a reflection on the need to be productive. He feels like he

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texts: is back in his hometown in "El patio". He was able to recover it. In "La posesin", he talks about his desire to blend with the land. He observes in "Centro del hombre" that he no longer feels like a stranger. He had been living in two places, one with his body and one with his soul.They are back together: con todo o con casi todo concordabas, y las cosas, aire, luz, paisaje, criaturas, te eran amigas. Things, air, light, landscape, creatures, were friends with you. There can only be fleeting moments of harmony and union, each of which is like a pearl between its two valves. He had to keep his feelings private and hide his tears on the plane. He said that this would add to the legend of his being dry and cold-hearted. He published a set of three short stories in 1948. The stories are "El Viento en la Colina", "El Indolente" and "El Sarao".The stories "Sombras en el saln" and "En la costa de Santiniebla" were published in 1937. "Not only literary and aesthetic questions were debated but quarrels and affairs of the heart: love, disillusion, dislikes..." It seems to be a fictionalised account of the breakdown of <mask>'s. In 1937-38, he completed a play called La familia interrumpida. It was published posthumously in 1988. In 1931, he wrote 9 pages of a play that he never finished. He translated Shakespeare's Troilus and Cressida into Spanish during his time in London. This task gave him a lot of satisfaction and taught him a lot.He thanks E.M.Wilson for his help in clarifying difficult passages. Professor of Spanish Literature at King's College, London, Wilson was a British scholar of Spanish Golden Age theatre. Wilson was on a scholarship at the Residencia de Estudiantes when they met. When he was at Mount Holyoke, <mask> finished his translation. It was published in nsula with sponsorship from the British Council. The first act of Romeo and Juliet was translated by him. Many of the critical essays that <mask> wrote were published in newspapers or magazines.He brought out 4 collections of his most important pieces towards the end of his life. The first was Estudios de poesa espaola contempornea. He began work on the articles that comprise it in 1954. From the 19th century onwards, <mask> gives a survey of what seem to be the most important currents in Spanish poetry. He starts with Ramn de Campoamor. He begins his general essay on "Modernismo and the Generation of 1898" by covering Bécquer andRosala de Castro. Individual essays on Miguel de Unamuno and Juan Ramn Jiménez follow.He started with Len Felipe, followed by Gmez de la Serna, and ended with Salinas, Guilln, Lorca, Diego, Alberti, and Altolaguirre. He thinks about developments since 1936 at the end of the collection. The first publication of these articles was in a magazine called México en la Cultura. The uproar caused by the essays on Juan Ramn Jiménez, Salinas and Guillén delayed the publication of the collected articles. It was published in 1957 in a heavily bowdlerised version that did not include chapters about Guillén, Aleixandre, Altolaguirre, Diego and Alberti. His next collection was Pensamiento poético en la lrica inglesa. It is more interesting as an indication of Cernuda's interests than as a work of criticism since it was written in Mexico at a time when he didn't have access to a proper English language library.His audience was attracted by the novelty of a study of English poetry written by a Spaniard. In a letter dated March 3, 1961, <mask> states that "English literature, from my arrival in England (1938) until now, has been part of my daily reading." He wrote of his fascination with the tradition of poet-critics in English literature, comparing unfavourably the writings of such people as Sainte-Be. He was inspired by the essays "The Frontiers of Criticism" and "Tradition and the Individual Talent". The collection shows how extensive and deep his reading of English literature was. The most important essays or articles on literary themes were gathered in these collections. They show the range of his reading, covering authors as diverse as Galds, Goethe, Hlderlin, Cervantes, Marvell, Browning, Yeats, Gide, Rilke, Ronald Firbank, and Dashiell Hammett.The full range of his critical career is covered by the dates of the essays from 1935 to 1963. The first volume is the main interest for students of Cernuda. Two of the most revealing accounts of his poetics and starting-points for all Cernuda criticism can be found in this book. The text of a lecture was edited for publication in 1941. He starts by talking about the purpose of poetry, which is to convey his personal experience of the world. He talks about reality versus desire in this lecture. He wants to find a plane of existence where the objective and subjective dimensions of the world are eliminated.There is a distinction between the world's deceptive appearance and the hidden reality. He is able to synthesise the invisible underlying reality and its deceiving appearance by developing a "daimonic power" in the universe. The poet Hlderlin was destroyed by a force powerful enough to do this. The first part of the " Historial" was published in 1959 in México en la Cultura. The account of <mask>'s intellectual development gives an insight into how he became a poet and how his poetry evolved over time. Arthur Terry wrote in the Bulletin of Hispanic Studies that it was the most remarkable piece of self-analysis by a Spanish poet. It is very reticent about his emotional development.He obliquely mentions the love affairs that inspired Los placeres prohibidos, Donde habite el olvido and "Poemas para un Cuerpo". He came to the attention of Pedro Salinas in his first year at Seville University, and recorded that he would probably never have found his vocation as a poet had it not been for the older man. His attitude towards Salinas seems to have been complex and can be judged from his writings. His political militancy made it difficult for him to tolerate friends who he had come to consider bourgeois, such as Guillén and Salinas. Even though he might have reverted to friendly terms with Salinas and Guillén (and this was right at the start of his relationship with Aleixandre, when he viewed him as a comfortable bourgeois), in a collection of essays published in 1957. When it comes to poetry, a true poet has to break away from society in some way, even if he might live a lifestyle that looks totally conventional from the outside. He doesn't like the playful qualities in Salinas's poetry and he doesn't like his refusal to deal with profound subjects.He sees the change that came over Salinas's poetry with La voz a ti debida as just another game, a desire to show that he was as human as the next man. The poetry of Salinas was so alien to <mask> that he was antipathetic to it. His personal relationship with Salinas had probably never fully recovered from the blow of his apparent rejection of Perfil del aire in 1927. His review of the first edition of La realidad y el deseo was not enough to appease Cernuda. Salinas wrote an introduction to an anthology of Spanish poetry that was published in the 1940s and referred to <mask> as el ms Licenciado Vidriera de los poetas. In a poem called "Malentendu", which was included in Desolacin de la Quimera, <mask> launched a bitter attack on a man who, he claims, consistently misunderstood and ill-treated him. His contacts with Guillén seem to have been sporadic.When Perfil del aire first appeared, <mask> valued his words and he didn't seem to have done anything to vex him. The later collections had not begun to appear when Cntico was written about. The poet who wrote in "Beato silln" has a different view of reality than <mask>. <mask> respects his dedication to his poetry and his commitment to revising it. He regrets that Guillén didn't spend a lot of time expounding a limited view of life. He believes that Guillén draws everything he sees into a bourgeois viewpoint. Guillén's life and works become a family affair when he writes about Lorca.His assessment ends in two different ways. He thinks Guiillén is like Patmore, a forgotten 19thc poet. One of the best poets of his generation is a British poet. One of the first things that <mask> did when he arrived in Madrid was to visit Vicente Aleixandre. They met for the first time. <mask> blames his own timidity and distrust for the fact that they did not immediately become friends. He didn't realize until a later date that his visit had been during the hours when Aleixandre would normally be resting.He was struck by Aleixandre's calmness and the sense of ease that he instills in others. This was the reason why <mask> didn't want to see Aleixandre again. When he returned to Madrid from Toulouse in June of 1929, he met another person, but he didn't know who he was. Over the course of many meetings, <mask>'s reserve and distrust faded. His friendship with Vicente was the closest he had ever had. They met in the house of Aleixandre, sometimes with Lorca and Altolaguirre there as well. Ian Gibson says that Aleixandre became one of Lorca's closest friends because he had a special gift for friendship.<mask> notes his skill as an attentive and sympathetic listener. He was trusted with the intimate confessions of many of his friends. The struggle of a man of intense feeling trapped inside a sick body is an analogous situation to his own struggle. Not even Aleixandre was able to escape from <mask>'s sensitivity about his future reputation. In the 1950s, he wrote a few essays about his memories of <mask>, which were written in the late 1920s and early 1930s. He describes his friend's lack of interest in the world. There was no attempt to see if that old image still fitted the man who had been through so much.There was no attempt to remove the poetry written by <mask> from the man who had known him. One of the most important things in his life was his relationship with Lorca. He met Lorca in December of 1927 during the celebrations for Gngora. He wrote an article about this meeting in 1938. They met on the patio of the hotel. The contrast between Lorca's large, eloquent, melancholy eyes and his thickset peasant's body was striking. He was not impressed by his theatrical manner and he was surrounded by people who looked like matadors.He took me by the arm and we left the others. He met Lorca in Madrid three years after he returned from Cuba and New York. He noticed that he was less precious, less melancholy and more emotional. Considering the friendship between them and his admiration for Lorca, <mask> is dispassionate in his assessments of Lorca's poetry. He is not a fan of the Romancero gitano, for example, because of the lack of narrative in many of the individual poems and the theatricality of the collection as a whole. The son of a wealthy family who is comfortable in his very bourgeois status is able to mock Canciones because he knows that it will not cost anything. This is a fleeting characteristic in Lorca, but more persistent in Alberti.For <mask>, poetry is a serious business and he doesn't approve of people who take it lightly. It shows how his criticism is guided by his principles. He tends to be more tolerant of poets who are like him. He seems to approve of the fact that after the success of the Romancero gitano, he continued along his own path. In Poeta en Nueva York, a collection not published in Spain in Lorca's lifetime, <mask> identifies the heart of the collection as "Oda a Walt Whitman". This is interesting as it is a poem in which Lorca clearly shows his identification with homosexuals but <mask>'s reference is rather obscure - in it the poet gives voice to a feeling that was the very reason of his existence and work. It is a pity that this poem is so confused because of that.He was at the premiere of the play in Madrid on March 8, 1933. He doesn't mention it or any of the plays by Lorca in his writings. At the end of the chapter on Lorca, he notes that at the time of his death, he had a lot more to say and that his style was developing. To ensure that the image of Lorca was not academicised, and that he remained a figure of vitality, rebellion and nonconformism, <mask>uda published an open letter to the famous critic Dmaso Alonso in response to an article. The year in which Perfil del aire appeared in Mlaga and the year in which <mask> was still a boy, neither represent his mature work. He points out that he was 25 years old at the time.Alonso should remember that his poems had already been published in other places. In his later essay, Historial de un libro, he used the same expression to show his confusion at the hostile reviews to his first collection. He dislikes Alonso's use of the word "mature". He points out that the poet was young and expecting maturity in his early work. The key factor for him is whether the poem has artistic merit or not. After the passage of time, he still prefers some of his earlier poems to some of the later ones. He complains that the critique is a repetition of the initial critical reaction in 1927.In Historial de un libro, he states that there are poets who find their audience at once and poets who have to wait for an audience to come to them. He's one of the latter. When people like Alonso, who rejected his early work and still call it immature, now say he is a fine poet, he takes that to mean that they are picking up on the positive reactions of people 20 years younger to his recent works. This is a key theme of <mask>'s final collection. In "Malentendu", he shows his fear that his own reputation could be influenced by the perception of someone such as Pedro Salinas. In "Otra vez, con sentimiento", he is uneasy on behalf of Lorca. Alonso had written a tribute to Lorca in the same article.<mask> wants to save his old friend from being appropriated by reactionary forces, defend his unconventional lifestyle, and prevent him from being free to live in Franco's Spain. Alberti was one of the people that he met for the first time in the Gngora celebrations. Alberti says he is "dark, thin, extremely refined and methodical". Alberti probably never became close to <mask>, although the latter contributed to many of the former's journals during the early 1930s. Alberti invited him to contribute to the celebratory album that he was editing, but <mask> did not follow it up. His relationship with Alberti is suggestive of the pathways that led to his initial contact with surrealism. He wrote a piece for Alberti's magazine Octubre in 1933.He calls for a revolution inspired by communism to destroy bourgeois society. He wrote in 1937 that the poet is a revolutionary with full awareness of his responsibility. He did not expect poets to get involved in revolutionary actions by that time. For a poet to take the course of direct action is absurd and tends to ruin the poet as a poet according to an essay he wrote in 1950. His response to Alberti's work seems to be affected by this attitude. Alberti's poetry lacks interiority and he seems to lack any sense of self. Alberti was a virtuoso versifier, able to copy the way of Gil Vicente or any other folk poet.Alberti shows a lot of humor in his first three collections. Alberti does not rise above the level of his models, such as Gngora and Guillén in Cal y canto, because he sees Alberti as a parodist rather than an original poet. The reader thinks that Alberti is an example of a poet who found his public immediately, because he became so successful so quickly. These thoughts were written in his essay in Estudios sobre poesa espaola contempornea on Alberti and seem to derive from Eliot's essay "Tradition and the Individual Talent", because he goes on to draw a contrast between writers who are readily accepted While praising his poetic fluency and virtuosity, <mask> stated that his work is basically devoid of passion and emotion and that he had nothing to say. <mask> wonders if Alberti's recognition of the social injustice of Spain was the inspiration for him to write political poetry because it is difficult to see any fundamental change in his ideas and feelings. He remains committed to traditional poetic forms despite the fact that the political poems are not very different from his previous phase.<mask> writes that Alberti's commitment to Communism doesn't stop him from turning to a political subject-matter in which the reader can divine nostalgia for his former success. Variations of his old themes are churned out in an attempt to revive this. There was a close bond between Altolaguirre and his family. The critical consensus is that he was not a minor poet, despite the fact that he devoted separate chapters in both Estudios to poesa espaola contempornea and Poesa y literatura to the poetry of Altolaguirre. In "Supervivencias tribales en el medio," he defends his dead friend from people who have forgotten or never knew his rare gifts as a poet. It's like an echo of his fears for what will happen to

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texts: his reputation after death - will people remember him or turn to the legends promulgated by people like Salinas. The wedding of Altolaguirre and Concha took place in June of 1932.<mask> dedicated a poem to him after their first child died in childbirth. They lived in the same building in Madrid from 1935 to 1936 and in Mexico from 1936 to 1936. It seems like this was his real family at times. There are two poems that suggest this. "Animula, vagula, blandula" is a poem about watching Altolaguirre's five-year-old grandson, whom he nicknamed Entelechy, playing in the garden and wondering how his fate will differ from his own. "Hablando a Manona" is a nursery rhyme that is addressed to their granddaughter. The generation of 1898 <mask>'s best writing tends to be about writers who inspired him.The writing about the Generation of 1898 is objective but lacking in sympathy. He seems to have found it hard to forge personal relations with them. He said that Juan Ramn Jiménez and Valle-Incln neglected to listen to other people because they were so intent on their own speech. He recalled that Antonio was so revered by Alberti that he spoke little and listened to less. He respected Unamuno more as a poet than a philosopher. "He always understood very little when it came to poetry" and "with his strange ignorance of poetic matters" are some of the things that were said by Ortega y Gasset. He made it clear in his 1963 essay that he admires his integrity as an artist and human being.He doesn't rate his poetry very highly, he doesn't comment on his novels often, and he doesn't like to watch plays. In his study, he found similarities with his own poetic practice. He finds echoes of Bécquer in the early poems of Soledades. These poems bring together the real and the suprasensible with a rarely achieved identification. The notes of Juan de Mairena began to appear in 1925, and he is drawn to them. He finds the "sharpest commentary on the epoch" in these. <mask> doesn't like the idea of the poet's focus on Castile, which he sees as negating the essence of Machado's best poetry.The first poem of the "Dptico espaol" from Desolacin de la Quimera is a rant against Spain that is difficult to reconcile with a strand of <mask>'s own poetry. The contrast between modern Spain after the Civil War and the glorious past is one of the major themes of <mask>'s work. One aspect of Machado that he focuses on is his use of language and how he fails when he tries to emulate the type of popular language described by German Romantics. He dislikes the attempt to write a popular song, "La tierra de Alvargonzlez". According to Octavio Paz, "Jiménez and Antonio Machado always confused popular language with spoken language, and that's why they identify the latter with traditional song." Jiménez believed that folklore was the most refined art and that the true aristocracy resided in the people. The member of that generation who had the most impact on him is Jiménez.In his study of Unamuno, he makes a comment that seems to relate to his own practice as a writer, his preoccupation with creating and perpetuate himself in his poetry, transforming the circumstances of his life into myth. He met Jiménez in October of 1925. The meeting had been arranged by Pedro Salinas and he suggested to <mask> that he should ask one of his friends, whose father was a warden of the Alczar, for permission to visit the gardens out of hours. <mask>'s account is interesting. He was taken aback by the presence of such an important figure. Jiménez's shyness and lack of interest in women put him at a disadvantage, as well as the presence of his wife, Zenobia Camprub. He was listening to the master.Jiménez was very kind to him that evening. At that time, he was something of a hero to <mask> and he notes how much effort it cost him to free himself from Jiménez's type of egoistic, subjective poetry with no connection to the world and life, which was so influential in Spanish cultural circles at that time In his essay, "Los Dos Juan Ramn Jiménez", he analyses the personality of Jiménez. He was a famous poet and worthy of admiration and respect. He was the man who launched abusive attacks on literary figures. The latter side became more and more dominant. He took against the poets of <mask>'s own generation at first and then turned to print.The effect of printing vilifications right to the end of his life was to turn <mask>'s former admiration into indifference or even worse. The satirical poem included in Desolacin de la Quimera was written by <mask>. His essays identify all the elements that he cast off, such as the impressionistic symbolism, hermeticism, thefragment of his poems, his inability to sustain a thought, and the lack of desire to go beyond the surface of things. In 1962, he wrote an essay titled "Jiménez y Yeats" and included it in a book. The translation of Yeats's poem "A Coat" was included in E.M. Wilson's survey of <mask>'s literary borrowings. Wilson writes that one can point out minor infidelities, but the translation has life of its own and fulfilled its purpose in <mask>'s essay: a rod for the back of Juan Ramn Jiménez. Jiménez is a more limited poet than Yeats because he put his poetry to one side in order to campaign for Irish Home Rule and to work as director of the Abbey Theatre in Dublin.He didn't involve himself with ethical considerations at all. His sexual awakening seems to have coincide with the birth of his desire to write poetry, around the age of 14, but it was many years later before he really came to terms with this side of himself. His emotional development was influenced by the writings of Gide. In Historial de un libro, <mask> wrote that his introduction to the works of Gide was when Pedro Salinas gave him Prétextes or Nouveaux Prétextes to read, followed by Morceaux Choisis, which is a selection by Gide himself of passages from his works The way for him to resolve or at least reconcile himself with a vital, decisive problem within him was opened by these books. There are works that deal with the topic of homosexuality. Gide is included in the section of Les Caves du Vatican where Lafcadio Wluiki pushes Amédée Fleurissoire out of a moving train just from curiosity as to whether he can actually bring himself to do it.<mask> commented, "I fell in love with his youth, his grace, his freedom, his audacity." The poem "Los marineros son las alas del amor" in Los placeres prohibidos is redolent of this. He wrote a fan letter to Lafcadio, which was printed in El Heraldo de Madrid in 1931. "The only real thing in the end is the free man, who does not feel part of anything, but lives wholly perfect and unique in the midst of nature, free from imposed and polluting customs." In his essay of 1946, he writes that the figure of Gide isn't that of a man who doesn't search for the divine, but that of a man who exalts himself. He was affected by the idea of total hedonism without any guilt. In Book 1 of Les Nourritures Terrestres, there is an idea that he takes from Gide.Nathaniel, each of my desires has enriched me more than the object of my desire. The dignity and integrity of the desire are more important than hedonism and the exaltation of desire. The object of the desire is not what gives virtue. "What he holds in his arms is life itself, rather than a desired body," said Cernuda. The transience of love is accepted as a normal phenomenon in Los placeres prohibidos, because it is the nature of love that supersedes everything. Following Gide's example, <mask> becomes concerned with maintaining his integrity. He will live according to his values, which include rejection of conventional sexual mores and acceptance of his homosexuality.The second book of Octavio Paz's surrealist period is called Los placeres prohibidos, which means "Forbidden Pleasures" in Spanish. One might have expected Los placeres pervertidos (Perverse Pleasures) to be called by him. <mask>'s reading of Gide was thorough. The works mentioned in his essay include the "Journals", Les cahiers d' Walter, Le Traité du Narcisse, Paludes, Le Prométhée Mal Enchané, Les Nourritures Terrestres, Amy. Gide's memoirs, Si le grain ne meurt, is one of the most interesting passages. Many of the episodes recounted in this book had formed the basis for his previous works; however, this new account is not so much a repetition as a complement to the previous versions. The reader gets a better idea of what was happening.Gide's works are heightened when they can be understood in the light of the memoirs. Historial de un libro was written to recount the story of the personal events that lie behind the verse of La realidad y el deseo. "After all, we cannot know anyone better than our self," said Gide and <mask>. At times, it seems that the two writers are the same. Gide was struck by the gardens of the Alczar when he visited Seville in 1892 with his mother. "What of the Alcazar?" was the question that made its way into Les nourritures terrestres. As a Persian garden!I think I prefer it to the others. I think of Hafiz when I read it. In "Jardn antiguo", <mask> describes a similar sense of transcendence. During Semana Santa, Gide enjoyed the sensuality of the celebrations. He describes how the corsets were loosened and the morals were thrown off in his journals. He took a few years to come to terms with his sexuality after meeting Jiménez and Lorca. He left Seville in 1928 after his mother's death.He seems to have developed his sense of difference during that time. Salinas commented on his "well-cut suit, a perfectly-knotted tie" during his time at the University of Seville. During his stay in Madrid, he assumed the pose of a man who frequents bars, drinks cocktails, and affects English shirts, discussed in an article by Villena. Villena thinks it's a sign of a refined hermit trying to hide his hyper-sensitivity and repressed desire for love. He wrote to a friend in Toulouse that he was starting to think he was too well-dressed. Two months later, he wrote to a friend complaining that he had only been able to make female friends because the young men were too coarse for him. He says that he wears his moustache in a similar way to Don Alvarado.A certain friend once claimed to convince the writer of this that he dressed and adorned himself not to attract but rather to rebuff people from his side. If an elegant woman attracts, the elegant man repels. dandyism is one of the ways to get to the solitude of the wasteland. The combination of his contact with the world, especially the atmosphere of Paris which he visited in the university vacations, the rebellion of the surrealists, the influence of Gide, and his fight against bourgeois tendencies were all related. His dandified style of dressing has continued for the rest of his life. In 1950, he stayed overnight withJorge Guillén and the latter wrote to Pedro Salinas, "What a blue robe with white spots...what a smell of perfume in the passageway on the following morning!" For a long time, the reactions of critics to <mask>'s poetry were based on a caricature of his personality - the shy, but prickly person so quick to take offence.One of his closest friends, Concha de Albornoz, wrote about his climate changing. I feel close to him sometimes and distant at other times. It was difficult for him to make friends. Many of the people who knew him allude to his shyness and this is a trait that is related to the critical comments he makes in his writings about his peers, which are sometimes so harsh that it is hard to believe they were ever friends or colleagues. <mask> was aware of his reputation being of a tortured individual and this became a concern for him in his later years. He criticizes his countrymen for the way they have accepted his perception without trying to see if it is justified. He made it clear that this "legend" is a gross distortion of reality.Tristes cuentos de m por amigos. A la persona misma as traspuesta, jams quisisteis Ni ocasin buscasteis. Did I say my legend? Four friends made sad tales about me. You never wanted to check to see if they fitted that person. It seems likely that the four friends were Juan Ramn Jiménez, Pedro Salinas, Vicente Aleixandre and José Moreno Villa. Jiménez shows him to be very sick.<mask>'s solitariness is emphasized by Aleixandre. He was shown as timid, solitary and fragile by Salinas. The tortured side of Moreno Villa's character was the focus of his autobiography. He was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 They say he cried in front of the windows of clothes's shops because he couldn't buy some silk shirts, but I have seen him almost in tears for not having friends or anyone to love him. The young man they knew in the 1920s and 1930s was referred to in all of these accounts but he was not written about until 1955. Jiménez's account was the only contemporary one.They don't seem to have thought of revising their opinion of Cernuda's character. There is a fundamental problem with the belief that the poetry is the man. They project the brittle, languid, effete personality of the man they knew onto his poetry even though it reveals a very partial, incomplete and misleading reading. It is not related to the use of the Doppelgnger device, the passion of the surrealist poems, or the later poems of reflection and self-examination. It was possible for a critic to say in 1962, "he is so accustomed by now to live surrounded only by the creations of his own mind - who obey him always and are much more easily controlled than people - that real company is bothering him." The main theme of Cernuda criticism was the projection of the unbalanced ideas of the man onto the poetry - a man seeking to escape from the real world. In 1965, a different viewpoint began to emerge."<mask>'s work is an exploration of himself...He said it himself, 'I have only tried, like every man, to find my truth, my own.'" The work of Cernuda leads to our own selves. That is what makes it moral. <mask> is not an effete man of glass but a moralist. This is implied by the title he chose for his work, La realidad y el deseo. He criticizes poets who try to ignore reality, such as Juan Ramn Jiménez. "<mask> defends liberty, anti-conventionalism, joy, faithfulness to your own destiny, the individual leading the way for other people, a blend of stoicism and epicureanism."The satirical poems in <mask>'s final collection are not just personal attacks but also defences of a moral code that is different from that held by the person being attacked, a different set of ethics. A younger generation of Spanish writers were interested in <mask>'s work. It was difficult to get unexpurgated copies of <mask>'s poetry in Spain at the time. The magazine Cntico was dedicated to his work in 1955. In a letter to the scholar, he gives praise to an essay by Vicente Nez, accuses Adriano del Valle of inventing anecdotes about him, and claims not to believe a word of the praise that they give him. The legend of <mask> is based on the fact that one of his essays made a contribution to that issue. He was sufficiently impressed to commend the homage to a young British scholar, who was starting his research into <mask>'s works.In 1962 there was a special edition of La caa gris. This homage seems to have pleased him more than the earlier one, with the exception of two contributions by Juan Gil-Albert. Two of the contributors were poets who showed signs of <mask>'s influence. Biedma wrote an elegy for him. Francisco Brines was a poet who was influenced by him. There is a monument to <mask> in Sevilla, Spain. The portraits of <mask> and Vicente Aleixandre were drawn by a Spanish painter.A stamp on the one hundredth anniversary of the poet's birth was issued by the Spanish government. The library of congress has a catalog card number. A. Coleman has other voices. There is a study of the poetry of <mask>. Silver, <mask>: el poeta en su leyenda. <mask> (Madrid, 1977) R. Martnez Nadal. "L'arte pura in tutte le lingue del mondo: <mask>" was written by M. Petrelli.Rivista di Studi Iberoamericani is a journal. 1, and 2, 2009. M. Ulacia and L. <mask> wrote escritura, Cuerpo y deseo. Spanish gay writers, 20th-century translators, and Spanish people of the Spanish Civil War are

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